One year ago, I made my first Monthly Report post here on A Swede Talks Movies. I didn’t plan for this at the time, but the Monthly Report has become the real rock of this blog. Even as the amount of posts has decreased throughout the last year, the Monthly Report provides regularity and stability. I like that.
Mighty Aphrodite (Woody Allen, 1995)
The whole Greek theater angle was largely lost on me. The story itself is solid Woody Allen, with a couple of pure gold lines here and there and some effective and affecting performances. Not the best film I’ve seen from the director, as in the end it doesn’t really go anywhere, but it’s a fine enough watch.
Seeking a Friend for the End of the World (Lorene Scafaria, 2012)
For some reason, I was expecting something more comedic. I was also expecting something not as good as this ended up being. The whole coming apocalypse thing is shown with lots of fascinating details, but the real goodness here comes from the relationship building between Steve Carell and Keira Knightley. Superb chemistry, and I found myself genuinely moved by their story. It’s a healthy reminder of just how great Carell can be with the right material, and of how Knightley is capable of so much more than just looking good in a period dress. Perfect ending, too.
The Raid: Redemption (Gareth Evans, 2011)
Badass to the highest degree.
Butch Cassidy and the Sundance Kid (George Roy Hill, 1969)
I haven’t explored the western genre enough to really say with any degree of certainty that it isn’t my thing, but what I can say is that there is little about the genre that makes me inclined to investigate it further. I liked this movie, though. The banter between Paul Newman and Robert Redford made for a lot of fun scenes, and the story of the two outlaws was compelling stuff. The extended music scenes felt a bit weird, though.
Shame (Steve McQueen, 2011)
Some movies manage to really get under my skin. It might take a little while, but once they get through, they’re free to work whatever brand of magic they’re capable of, and it’ll just stick with me in a certain way. This does not mean that they’re better movies than others; it just means that they manage to operate in a different manner than most. Shame is such a film, and it achieves it through spellbinding long takes, a tremendous lead performance by Michael Fassbender, and a take on addiction different from the norm in films. The previous McQueen-Fassbender collaboration, Hunger, was a movie I admired more than I liked. Shame, I admire and adore in equal measures.
Valhalla Rising (Nicolas Winding Refn, 2009)
The most boring movie I’ve seen in quite some time.
Barry Lyndon (Stanley Kubrick, 1975)
The lavish production of it all is what I found myself liking most about this film. The whole shebang looks great, from the costumes to the art direction to the environments. My main problem is Barry himself, who for most of the film is really quite boring. The story fortunately picks up a bit in the second half. All in all, though, this is one of my least favorite Kubrick films.
Extremely Loud & Incredibly Close (Stephen Daldry, 2011)
Rough goings early on with this one, as I didn’t like the main character – more to do with the writing than Thomas Horn‘s performance – and found there to be too many shortcuts. Having the kid always carry around a tambourine that he shakes whenever he’s nervous is a lazy way to show his emotional state, for instance. That said, this film definitely managed to win me over as it went along. It unabashedly tugs on the heart-strings, and Daldry ultimately makes it work. Bonus points for fine performances by Max von Sydow and Sandra Bullock.
Set It Off (F. Gary Gray, 1996)
Very run-of-the-mill bank robbing movie, full of clichés and overwrought melodrama. Not very good.
Cleanflix (Andrew James & Joshua Ligairi, 2009)
A surprisingly compelling documentary on the business of edited movies, IE when companies buy and edit movies to remove content they deem unsuitable or immoral. Fair arguments are made for both sides of the argument, and while the process to me certainly seems legally wrong, the movie did make me pause to ponder the morality of it. This was more than I expected to do, so that was cool. What drags the movie down is the form, with lots of talking heads and floating text to provide narration. You watch it for what it has to say, not for the way in which it says it.
The Girl (Fredrik Edfelt, 2009)
Heartfelt and frank story about a 9-year-old girl (Blanca Engström) who has to spend a summer taking care of herself. The clash between childhood and adult life is potent here, and the movie does a good job in sweeping you along in its smooth pace. A Swedish film that rises a bit above the norm.
About Schmidt (Alexander Payne, 2002)
Jack Nicholson is great here. It’s the kind of performance that make you wish there were more strong meaty roles like this one for older actors out there. The rest of the film is good too, although I was a bit bothered with the over reliance on narration in various forms to tell the story of Warren’s state of mind.
11:14 (Greg Marcks, 2003)
A black comedy thriller of sorts, with a number of different plot threads that intersect with one another. I found the tone of humor to be an ill fit for the more gruesome parts of the story, but it’s nonetheless fun to see in what ways the various plots are connected.
Morning Glory (Roger Michell, 2010)
The story of a plucky young career woman getting a new job and having to deal with old cranky people in order to show what she can do is nothing new; Morning Glory’s writer Aline Brosh McKenna herself handled similar subject matter four years prior in The Devil Wears Prada. The formula still works here though, largely thanks to Energizer bunny Rachel McAdams and a Clint Eastwood-channeling Harrison Ford. The whole movie is imbued with an energy that many comedies are missing these days, in fact. Everything just clicks. Morning Glory doesn’t break new ground, but it offers for a very fun time regardless.
Trailer Park Boys: Countdown to Liquor Day (Mike Clattenburg, 2009)
Me and a friend were nursing hangovers and flipping through Netflix when we saw this film none of us had heard about before and decided to give it a go. We didn’t know that it was based on a TV show, and not the first film to be based on it either. Regardless, I enjoyed it. The material itself runs a bit thin at times, as there’s not enough to fully sustain its 102 minutes, but the characters are amusing and have an off-beat kind of dynamic with one another. I found myself wanting to see more of them, so…
Trailer Park Boys: The Movie (Mike Clattenburg, 2006)
…naturally, I checked out this one too. It’s roughly on par with Countdown to Liquor Day. A bit better paced and with a sharper plot, but it’s not quite as funny – possibly due to less focus on Bubbles (Mike Smith). Nonetheless, I don’t see how you could like one of the films and not the other.
Intolerable Cruelty (Joel & Ethan Coen, 2003)
Oddly flat in content for a Coens film, but the humor is there and the cast has a good bit of fun with it all. The ending seemed weird to me, but then that’s par for the course when watching one of the brothers’ movies for the first time, so I’m not holding that against it too much.
The Substitute (Robert Mandel, 1996)
Pretty bad in most every way, from the clichéed story and poor action scenes to the cheesy acting. But it’s at least the kind of bad that you can laugh at if you watch it with some friends. If I can give Troll 2 a score of 3/5, I can give this one a 2.